plate no. 6076

Madame Alexandre Kohler

oilPost-Impressionismportraitportraitfigurewomanstill lifeplantclothing

what to study here

It shows how a flat two-zone background, warm shadows, and visible directional brushwork can organize a portrait using only three value groups.

Start with the background, because it organizes the whole picture. The vision guide describes two zones: a pale yellow-cream rectangle framing the upper half of the sitter's body, and a vivid coral-orange field wrapping the lower composition. The sitter's frontal head and shoulders sit against that rectangle, with light coming from the upper left. Squint and you get three value groups: light background and dress, a warmer mid-tone for face and neck, and dark hair and plant branches. The face carries warm shadow rather than cool gray, which keeps it consistent with the orange and yellow around it. The edges on face and neck are soft, but the strokes still follow the form and are not blended away. The dress is brushed in parallel strokes that follow its vertical hang, and the background is laid in with broader, flatter strokes. The dark potted plant on the right gives a vertical counterweight to the figure. Study how few value groups hold the picture together, and how much visible brushwork remains in the dress and background.

key decision

Gauguin divides the background into a pale cream rectangle and a coral-orange field, and keeps the face's shadow warm so it harmonizes with both zones.

From the record

Dimensions: 46.3 cm high × 38 cm wide
Inception: 1887
Materials: oil paint, linen

Wikidata item Q20189865

recreation guide

Madame Alexandre Kohler (1887) represents a pivotal moment in Paul Gauguin’s transition from Impressionism toward the non-representational use of color and form that would define his later Synthetist and Cloisonnist works. Painted during his time in Panama, this portrait reflects his growing interest in 'capturing the soul of nature' and expressing 'ancient truths' rather than merely recording visual reality (Source 3). The work likely exhibits the 'naivety' and 'compositional austerity' influenced by Japanese prints and folk art, emphasizing major forms and upright lines to clearly define shape and contour (Source 3).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red, Yellow)	Primary pigments for the grisaille underpainting and subsequent glazing/scumbling layers.	Standard tube oils; Ultramarine Blue, Titanium White, Ivory Black, Cadmium Red/Yellow or Alizarin/Cadmium mixes.
Oil of Copavia (or modern linseed/walnut oil)	Medium for the first and second paintings, as cited in Reynolds' method which Gauguin may have studied or adapted.	Stand oil or refined linseed oil.
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats.	Dammar varnish or synthetic resin varnish.
Canvas or Panel	Support for the oil painting.	Linen canvas primed with gesso.

preparation

surface prep

Prepare a neutral ground. While specific preparation for this 1887 portrait is not detailed in the sources, Gauguin’s move away from subtle gradations suggests a need for a stable, non-absorbent surface to support bold outlines and flat areas of color (Source 4). A standard white or off-white gesso ground is appropriate for the high-key contrasts often found in his work of this period.

underdrawing

Gauguin’s work from this period emphasizes 'major forms and upright lines to clearly define shape and contour' (Source 3). The underdrawing should be decisive, focusing on the structural integrity of the figure rather than delicate shading. It should reflect the 'compositional austerity' influenced by Japanese prints, avoiding excessive detail in favor of clear, bold outlines that will later serve as boundaries for color fields (Source 3, Source 4).

underpainting

Employ a grisaille (monochrome) underpainting. According to traditional methods cited in the sources, one should 'mentally extract the red and yellow colours' and paint the remaining tones in black, ultramarine, and white (Source 1). This establishes the chiaroscuro and value structure before introducing color. This method allows the artist to focus on form and light without the distraction of hue, aligning with the 'sound craftsman' approach to mastering the medium (Source 7).

color palette

Ultramarine

Pure Ultramarine Blue

Part of the initial grisaille underpainting along with black and white (Source 1).

White

Lead White or Titanium White

Highlights and mixing in the grisaille underpainting (Source 1).

Black

Ivory Black or Lamp Black

Shadows and outlines in the grisaille underpainting (Source 1).

Red and Yellow Tones

Various reds and yellows

Glazing and scumbling over the dry grisaille to introduce color, mimicking the tinting of an engraving (Source 1).

composition

The composition likely emphasizes 'major forms and upright lines' to define shape and contour, reflecting Gauguin’s influence from Japanese prints and folk art (Source 3). The figure is treated with a 'naivety' that avoids complex perspective, focusing instead on the 'bare emotional purity' of the subject (Source 3). The arrangement of lines and colors is 'carefully considered and calculated in advance' to create harmonies that stimulate the imagination, similar to music (Source 3).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the figure using bold, upright lines to define the major forms and contours. Avoid subtle shading; focus on the structural outline.
Tip — Ensure the lines are decisive, reflecting the influence of Japanese prints and folk art.
Compositional Austerity

underpainting

step 02
Paint a grisaille using only black, ultramarine, and white. Mentally extract red and yellow tones, focusing on the value structure and chiaroscuro.
Tip — Use oil of copavia (or a similar medium) for this first painting stage.
Grisaille Underpainting

first pass

step 03
Allow the grisaille to dry completely. Then, begin glazing and scumbling with oil, introducing red and yellow tones as they occur in the composition.
Tip — Treat the color application like tinting an engraving with watercolors, applying transparent coats over the monochrome base.
Glazing and Scumbling

refining

step 04
As mastery increases, mix varnish with oil for subsequent glazing layers. Use scumbling (semi-opaque painting) to create coldness or grey blooms where needed, allowing the underlying painting to show through.
Tip — Be aware that scumbling over a darker ground tends to coldness, which can be used to achieve specific tonal effects.
Scumbling

finishing

step 05
Refine the color harmonies by considering the simultaneous contrast of colors. Ensure that adjacent colors enhance each other, creating a 'true gradation of light' and emotional resonance.
Tip — Remember that colors appear different when juxtaposed; adjust tones to achieve the desired harmony and emotional impact.
Simultaneous Contrast

critical techniques

Glazing and Scumbling

Used to build up color layers over a dry grisaille underpainting. Glazing involves transparent coats of color, while scumbling uses semi-opaque paint to allow the underlayer to show through, creating complex tonal effects.

Simultaneous Contrast

Applied to harmonize colors in the composition. By understanding how adjacent colors affect each other, the artist can create more vibrant and emotionally resonant harmonies, avoiding the 'vulgar' direct expression of reality.

Compositional Austerity

Emphasizing major forms and upright lines to define shape and contour, influenced by Japanese prints and folk art. This approach seeks 'bare emotional purity' and avoids excessive detail.

common pitfalls

→Over-modeling or getting 'too much tied down to your outline' can lead to smallness and timidity. Copying works like Reynolds’s 'Portraits of Two Gentlemen' can help check this tendency (Source 7).
→Ignoring the law of simultaneous contrast can result in colors appearing dull or inaccurate. The eye is susceptible to fatigue when disentangling modifications caused by contiguous colors, so careful observation is needed (Source 6).
→Attempting to paint directly without a solid underpainting may lead to a lack of structural integrity. The 'sound craftsman' must master the medium’s capacities before expressing complex ideas (Source 7).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific details of Madame Alexandre Kohler’s clothing, jewelry, or facial expression are not described in the sources, so these must be inferred from general knowledge of Gauguin’s style or the actual painting, which is outside the scope of the provided text.
·The exact pigment palette used by Gauguin for this specific 1887 portrait is not detailed; the guide relies on general historical practices and the grisaille method described in Source 1.
·The specific compositional layout of the portrait (e.g., background elements, pose) is not described in the sources, so the guide focuses on general compositional principles of Gauguin’s style at this time.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting and glazing techniques
- ON COPYING — applied to Craftsmanship and avoiding over-modeling
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color harmony and simultaneous contrast

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — Paul Gauguin↗
- part 25 — applied to Compositional style and emotional intent
- part 6 — applied to Transition to Cloisonnism and Synthetism

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Light falls from the upper left, illuminating the sitter's face and the pale fabric of her dress while leaving her dark hair in shadow. The composition is anchored by the woman's frontal head and shoulders, which command immediate attention—her gaze and the warm flesh tones naturally draw the eye first. Behind her, a potted plant with dark, twisted branches rises against the bright coral-orange background, creating a secondary focal point that echoes the vertical axis of her upright posture. The background itself is divided into two distinct zones: a pale yellow-cream rectangle that frames the upper half of her body, and a vivid reddish-orange that wraps around the lower composition.

value structure

The darkest darks are concentrated in the hair, the plant's woody stems, and the shadow side of the face. The lightest values are the pale yellow background rectangle and the cream-colored garment fabric. A middle value zone occupies the flesh tones and the dress's purple-blue fabric. Squinting reveals three clear value groups: the light background and dress form one family, the face and neck a warmer mid-tone family, and the hair and plant branches anchor the darks.

observed palette and mixes

#dfc185
Titanium white + yellow ochre + touch of cadmium red
The pale rectangular background framing the upper portion; dominant in the face and neck
#c8a16a
Yellow ochre + burnt sienna + white
Mid-tone flesh, particularly cheeks and forehead; bridge between highlight and shadow
#946145
Burnt sienna + ultramarine blue + touch of cadmium red
Shadow side of the face; warm mid-dark tones in the dress fabric
#4d3932
Ultramarine blue + burnt sienna (heavy)
Hair mass, plant stems, darkest accents in the clothing
#b54927
Cadmium red + burnt sienna + ultramarine blue (cool shadow variation)
The coral-orange background; warm undertone in dress shadows
#987b5f
Yellow ochre + ultramarine blue + white
Muted olive-green visible in the background rectangle; cooler mid-tones in the dress

edges and brushwork

Gauguin employs soft, slightly blurred edges throughout the face and neck, with visible brushstrokes that follow the contours of form rather than blending smoothly into invisibility. The hair is rendered with loose, directional strokes that suggest mass and texture rather than detail. The dress fabric shows deliberate, parallel brushwork that reinforces the vertical hang of the garment, while the background is laid in with broader, flatter strokes that leave a slightly textured surface.

a working sequence

01
Establish the pale background rectangle
Block in the cream-to-pale-yellow background shape that frames the upper half of the composition. Use a mix of titanium white, yellow ochre, and a touch of cadmium red. Keep edges soft and let the color vary slightly in tone—it should not be uniform. This shape is your lightest light and anchors the value structure.
02
Lay the coral-orange ground
Fill the remaining background with the warm coral-orange, mixing cadmium red and burnt sienna. Notice it darkens slightly toward the edges and where it meets the plant branches. Apply with broader, flatter strokes; this area should feel less refined than the face.
03
Block the head and neck
Begin the face using a warm mid-tone mixture of yellow ochre, white, and a small amount of cadmium red. Establish the overall proportions and the basic turn of the head. The face is frontal and slightly tilted; pay attention to the downward angle of the eyes. Leave room for shadow on the shadowed side (viewer's left).
04
Model the facial features and shadow
Refine the face by introducing a slightly cooler, darker mixture (burnt sienna + ultramarine blue + touch of red) for the shadowed side. The shadow is warm, not cool, so avoid pure blue-grays. Soften edges where light meets shadow along the cheekbone. Add the eyes as simple dark accents; they should not be overworked. Notice the lips are a muted red-pink, warmer than the surrounding shadow.
05
Block and shade the dress
Lay in the dress fabric with a purple-blue tone (ultramarine blue + burnt sienna + white, leaning cooler than the face). The dress has clear shadow areas, particularly along the left shoulder and down the center front where it catches less light. Use parallel, vertical brushstrokes to suggest the fabric's drape. The dark buttons are accents of burnt sienna and ultramarine.
06
Paint the hair mass
Using a dark mixture of ultramarine blue and burnt sienna, block the hair as a solid dark shape. Do not attempt individual strands; instead, use loose brushstrokes that follow the direction of the upswept style. The hair has a slight warm undertone from the underlying skin, so avoid pure black. Leave the hairline soft where it meets the forehead.
07
Establish the potted plant
Paint the plant pot and the dark, gnarled branches using your darkest mixture (ultramarine blue + burnt sienna, heavy). The branches twist upward and to the right, creating a vertical accent that echoes the figure. Keep the branches gestural rather than botanically accurate; they should feel spontaneous. The pot sits in the lower right, anchored by its deep tone.
08
Refine edges and temperature transitions
Walk around the composition softening edges where the face meets background, particularly at the temples and neck. Check that warm and cool passages are clearly separated: the face and dress shadow should feel warm, while the background rectangle has a cooler, more neutral yellow-cream quality. Use a dry brush or gentle blending to soften the transition from the pale rectangle to the coral-orange ground behind the head.
09
Final accents and overall check
Step back and assess value relationships. The face should read as the lightest, warmest zone; the background as the brightest secondary zone. Add final touches: sharpen the eye pupils slightly, deepen any transitions that feel too smooth, and ensure the dress shadow reads distinctly from the background. Do not overwork; leave visible brushwork intact, especially in the background and dress fabric.

where studies of this painting go wrong

Treating the face as a smooth, featureless oval—Gauguin's face has clear shadow on one side and warm modeling throughout; capture the gentle asymmetry and the soft-but-present turn of the head.
Blending the dress fabric until it becomes flat and lifeless; the visible brushwork in the garment is essential to its texture and presence. Keep strokes directional and slightly loose.
Using a cool (blue-gray) shadow on the face instead of warm shadow (brown-red undertones)—this painting's shadows are consistently warm and harmonize with the surrounding orange and yellow.
Overworking or smoothing the background; the coral-orange and pale rectangle should retain a slightly textured, painted quality with soft but visible edges.
Making the plant too detailed or realistic; it is a silhouette and a compositional counterweight, not a naturalistic study. Keep it gestural and dark.

measured difficulty